Instant digital products (PDF, ePub, MOBI) ready for you
Download now and discover formats that fit your needs...
The Winter Maiden: The Twisted Society Presents Book 2 Cristina Lollabrigida
https://ebookmass.com/product/the-winter-maiden-the-twisted-societypresents-book-2-cristina-lollabrigida/
ebookmass.com
(eBook PDF) New Society 9th Canadian Edition
https://ebookmass.com/product/ebook-pdf-new-society-9th-canadianedition/
ebookmass.com
Fundamentals of Engineering Thermodynamics 9th Edition eBook
https://ebookmass.com/product/fundamentals-of-engineeringthermodynamics-9th-edition-ebook/
ebookmass.com
Pediatric Primary Care E Book 6th Edition, (Ebook PDF)
https://ebookmass.com/product/pediatric-primary-care-e-book-6thedition-ebook-pdf/
ebookmass.com
I’d like to thank my life partner, Daniel Butler, for putting up with the general rantin’, ravin’ and all-round craziness that goes into writing a never-ending book project. I’d also like to express my thanks to all of my friends and family in the United States and Europe, as well as to my music collaborators who help me reach new heights, both in the studio and on-stage. I’d like to give special thanks to Emiliano Caballero Fraccaroli (Amsterdam/Belgium); the folks at Easy Street Records in West Seattle; Galaxy Studios (Belgium); Dominik Trampf, nhow Hotel, Drew, Michael, Yvonne and Uli (Berlin); Sara, Steve and my buddies at Big Arts Labs (LA); Maurice Pastist (PMC Speakers, US); The Recording Academy (the Grammy folks in LA/Pacific NW); Greg & the folks at Steinberg North America (LA); Native Instruments (LA/Berlin); Ableton (Berlin) and Zerodebug (Berlin).
A sincere thanks to you all for your kindness and support!
David Miles Huber
www.davidmileshuber.com
CHAPTER 1 Introduction
The world of modern music and sound production is multifaceted. It’s an exciting world of creative individuals: musicians, engineers, producers, managers, manufacturers and business-people who are experts in such fields as music, acoustics, electronics, sales, production, broadcast media, multimedia, marketing, graphics, law and the day-to-day workings of the business of music. The combined efforts of these talented people work together to create a single end product: music that can be marketed to the masses. The process of turning a creative spark into a final product takes commitment, talent, a creative production team, a marketing strategy and, often, money. Throughout the history of recorded sound, the process of capturing music and transforming it into a marketable product has always been driven by changes in the art of music, production technology and cultural tastes.
In the past, the process of turning one’s own music into a final product required the use of a commercial recording studio, which was (and still is) equipped with specialized equipment and a professionally skilled staff. With the introduction of the large-scale integrated (LSI) circuit, mass production and mass marketing (three of the most powerful forces in the Information Age) another option has arrived on the scene: the radical idea that musicians, engineers and/or producers can produce music in their own facility or home . . . on their own time. Along with this concept comes the realization that almost anyone can afford, construct and learn to master their own personal audio production facility. In short, we’re living in the midst of a techno-artistic revolution that puts more power, artistic control and knowledge directly into the hands of artists and creative individuals from all walks of life . . . a fact that assures that the industry will forever be a part of the creative life-force of change.
Those who are new to the world of modern digital audio and multitrack production, musical instrument digital interface (MIDI), mixing, remixing and the studio production environment should be aware that years of dedicated practice are often required to develop the skills that are needed to successfully master the art and application of these technologies. In short, it takes time to master the craft. A person new to the recording or project studio environment
FIGURE 1.1
The historic (but newly renovated) Capitol Records Recording Studios, Los Angeles, CA. (a) Studio A control room. (Courtesy of PMC Ltd., www.pmcspeakers.com) (b) Studio A. (Courtesy of Capitol Records, www.capitol records.com)
(Figures 1.1 and 1.2) might easily be overwhelmed by the amount and variety of equipment that’s involved in the process; however, as you become familiar with the tools, toys and techniques of the recording process, a definite order to the studio’s makeup will soon begin to emerge—with each piece of equipment and personal approach to production being designed to play a role in the overall scheme of making music and quality audio.
The goal of this book is to serve as a guide and reference tool to help you become familiar with the recording and production process. When used in conjunction with mentors, lots of hands-on experience, further reading, Web searching, soul
FIGURE 1.2
One of the many, many possible examples of a project studio. (Courtesy of Bernd Scholl Musikproduktionen, www.moonbooter.de, © foto by moonbooter.de)
In fact, there is no secret formula for determining the perfect studio design. Each studio design (Figures 1.6 and 1.7) has its own sonic character, layout, feel and decor that are based on the personal tastes of its owners, the designer (if one was involved) and the going studio rates (based on the studio’s return on investment and the supporting market conditions).
FIGURE 1.5
Main hall at Galaxy Hall, Galaxy Studios, Mol, Belgium. (Courtesy of Galaxy Studios, www.galaxy.be)
FIGURE 1.6
Basic floor plan for KMR Audio Germany, Berlin. (Courtesy of KMR Audio, www.kmraudio.de; studio design by Fritz Fey, www.studioplan.de)
FIGURE 1.7
Floor plan of Paisley Park’s Studio A, Chanhassen, MN. (Courtesy of Paisley Park Studios)
